Introduction/Preface/Dichotomies/Harmony Dichotomies

Also in the %41-44% YIN-YANG range, all these forms of Harmony, with the Four Strong Modes and the various chord progressions, are of a very technical nature.


The 4 Forms of Harmony are evidently distributed according to rhythmic exigencies -
          (with or without rhythmic structure).
     Rhythmic Harmony and Melodic Harmony are both associated with Melody (YIN %41%) -
          Rhythmic Harmony, not being diatonic, with the two Chromatic Modes,
               the Chromatic Major Mode (3) and the Chromatic Minor Mode (4),
          Melodic Harmony, being diatonic, with the two Diatonic Modes,
               the Diatonic Major Mode (1) and the Diatonic Minor Mode (2).
          These 4 Strong Modes are evidently all in Melody and not in Development.
     Free Harmony and Diatonic Harmony are both associated with Development (YANG %44%) -
          Free Harmony functioning with the original free chromaticism,
               quite different from the (outside) window chromaticism of the Chromatic Modes, and
          Diatonic Harmony functioning with the (inside) window diatonicism,
               the same as that found in the Diatonic Modes.


This starts being a little more practical -
     The Swing is Harmony at its simplest,
          without any form of Metamorphosis whatsoever (called Metamorphosis 0 in the sequences),
               and balances placidly back and forth between the 2 same chords (of different direction),
                    a perfect choice for Melody (YIN %41%).
          This will situate chord patterns like M34 (I-V-V-I) and M54 (I-I-V-I)
               squarely in the Melody "camp".
     The Circle has a Metamorphosis 1 on each chord, producing a series of unidirectional chords,
          which go right around the series of fifths, through the BUCKLE chord,
                in the Development "camp".
          This will situate a chord pattern like M74 (I-IV-V-I), with only flattening directions,
               farther on the Development "side " (YANG %44%).

Orbit lines - Fundamental Bass
This one is not obvious.
     In Harmony/Basic Materials/4 Strong Modes/Diatonic Major,
          we saw the musical examples in 5 Performance Voices -
               4 Orbit Lines (above) and the Fundamental Bass below them.
          In the Swings of the Nucleus, there is no Voice-leading choice
                    because the second chord is a Triad,
               producing the Orbit Lines 3-2, 2-1, 1-1, 0-0, no veritable Orbit Chains,
                    which we will see only in the Voice-Leading Transformations.
          In the Circle with the Tail of the ANTES, Voice-Leading C was chosen by default,
               being the simplest, with the shortest chain.
          So far, rather unproductive Orbit Lines,
               but a constant, useful, cadential, consequential, Fundamental Bass.
     However, in Harmony/Transformations/Voice-Leading,
          the Voice-Leading A Swing produces the 0-3-2-1 Orbit Chain,
               which in turn produces the first 4-voice Natural Canon,
                    which is incompatible with the Fundamental Bass.
All of which seems to place the Fundamental Bass on the side of Melody (YIN %41%),
     and the complete Orbit Lines (and Chains) on the Development side (YANG %44%).

Philosophical Dichotomies
Music Dichotomies
Melody and Development
Rhythmic Containers
Cultural Habits
Intuition and Knowledge

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